The dueling maturity levels in high school is such a source of comedy to me. I was always such a late developer. I was last to walk. I was last to ride a bike. I was last to have sex. That's why it's fun to portray one side of your childhood onscreen.— Paul Feig
Gorgeous Onscreen quotations
The biggest thing people tell me is that I'll be jaded real soon and that the allure of filmmaking will lose its magic. Not necessarily the fame, but that special thing you create onscreen.
It is often difficult to watch yourself onscreen, especially 60-feet high.
As an actor, it is an uncomfortable experience.
People often ask me if I feel discriminated against as a black female director.
I don't. I'm actually offered a ton of stuff. But I only want to direct what I write. And I prefer to focus on black female characters. What's most important to me is to put characters up onscreen who are not perfect, but who are human and flawed.
To recognize yourself in a character onscreen, and to connect with them, you gotta recognize their flaws; they gotta feel like a real person.
Not many people realize this, but I'm a really squeamish guy.
When I watch other horror films that are really over-the-top with their blood and guts, I cannot watch it. So if my threshold to something onscreen is at that level, you can imagine how my threshold is to all the pain and suffering that is happening in the real world.
When an actress takes off her clothes onscreen but a nursing mother is told to leave, what message do we send about the roles of women?
I'm not dead and I don't have blue hair but some people say there are similarities. It is usually intolerable to watch myself onscreen but this time it's fine. I think it's beautiful and a real work of art.
Obviously as a kid, for probably anybody who chose animation voiceover as a career in their adult life, Mel Blanc was the touchstone for everybody. He kind of invented the job and was the first voice actor to get onscreen credit.
Actually, I've only been involved with one girl I worked with.
It was Alyssa Milano. We didn't actually have an onscreen kiss - we're about to but it gets broken up.
I often times find with movies that the heavier the onscreen situation is, the more levity there is off screen. It's almost out of necessity.
When people ask me about being portrayed onscreen by Leonardo DiCaprio, I always say, 'I love it - no matter how old I get, people are going to think that's what I look like.
It's incredibly unfair. You don't see a lot of 60-year-old women with 20-year-old men onscreen.
I'd love to play a villain in a movie, the kind of bad guy you would never think of me being able to play. Like most people, I have a darker side I'd like to explore onscreen.
What I try to do is write from the inside out.
I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.
My acting's very understated. I think my sad and happy don't play that differently onscreen.
Sometimes perception is almost more important than the skill level of an actor.
And if you give too much away, you have nothing to take for yourself and put onscreen. If people feel like they know you too well, they won't be able to indentify with the character you're trying to portray. Or they'll feel that you're just playing yourself, and then you just become a personality actor. And that's the death of any actor.
You have to strike hard from the beginning and create a depressurizing zone between the viewer's own life and the one onscreen. The creators of James Bond got it right: the attention-grabbing scene of each Bond movie is the very first one, before the opening credits.
I am not a member of the chamber of commerce for show business, believe me, but there are some really good people in the business, and [Tom] Hanks has this everyman decency onscreen, but he actually is that guy.
My whole life I try to make into a comedy, so it would be nice to see that onscreen.
For some reason, some of my best solutions and ideas are triggered in those dark theaters, usually totally unrelated to what's going on onscreen. I also enjoy hiking in the foothills and mountains close to Sacramento. I always have to bring a pen and paper to jot down sudden thoughts and ideas. So inspiration arises from countless sources.
I am like many of the women I have played onscreen.
You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.
I think I've got something when I'm onscreen, but that's nothing to do with acting or talent.
I actually don't prepare for onscreen nudity.
I really believe that you have to be comfortable with your own body and unless the role is directed to a certain physicality and you're playing a sports person, then obviously you've got to train for it, but I just try and do things that make me happy and comfortable in my own skin, so I've gotten into yoga quite a lot.
I am aware that I've generally been more attracted to introspective roles, but it's sort of bizarre, because it's the opposite of who I am in many ways. I think I'm quite an extroverted, loud person. So it interests me that that's sort of the place that I go all quiet, is when I'm onscreen. It's a bit strange.
In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.
People live a lot freer in their body and their voices and their moves than people act onscreen.
Everybody sees things their own way, but putting it onscreen is a different story - you have to deal with production crews. That's what differentiates a good director.
You would hope that coworkers who are dating can act professionally.
But then again, some people can handle it, and some people can't. And those who can't kind of ruin it for the rest of us. Sometimes it's hard to be around an office relationship that went sour. When two actors have to be onscreen together, it can get really, really awful.
I knew I wanted to make a movie that looked decadent and expensive.
I knew we would have to make every penny stretch and put as much of the budget onscreen as possible. So it starts with your heads of departments - your production designer, costume, hair and makeup designers. Picking the right people who were as committed as I was to telling the story as I was.
I think we need to make documentaries about fantasy and storytelling.
I think I just started to scratch the surface of a method that allows us to do that. We want to be sucked into the events, suspend our disbelief and imagine that this is a fiction, but actually putting onscreen the gap between who the people are and who they want to be and therefore opening the question about why they want to be this person.
You try to make them comfortable so they can do what they're best at, and make them shine. You always want to make an actor shine. I'm of the mind that there's no one - you, your mother, anyone, that if in the right place at the right time in the right context, couldn't shine in a movie. And so if it means, "Oh, I have to make them uncomfortable," then whatever it takes to get what I need up onscreen. It's all in the service of the story.
Brian De Palma was one of the rare directors who wanted us all to go to dailies.
It was like a party. After shooting The Boy In The Plastic Bubble, we'd all walk over together, at like 5 or 6 o'clock, to the little theater. And we'd sit down and watch the dailies from like, the day before. And John Travolta, whenever I came onscreen, he was just laughing hysterically. He just thought I was a riot.
The feeling of gravity on your body and then off your body is so traumatic.
But incredible. We with Tom Cruise were just like, "Let's do this, let's have an adventure - let's make something beautiful onscreen." No wires. Let's not cheat the audience.